Saj je "samo umetnost": Boleča umetnost in njeni paradoksi : magistrsko delo

Matjašič, Kristijan

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Title:	Saj je "samo umetnost": Boleča umetnost in njeni paradoksi : magistrsko delo
Authors:	ID Matjašič, Kristijan (Author) ID Oter Gorenčič, Mija (Mentor) More about this mentor... ID Küplen, Mojca (Mentor) More about this mentor...
Files:	MAG_Matjasic_Kristijan_2026.pdf (13,55 MB) MD5: 16B0C527674BA03FA79CDFEF246E7FFA
Language:	Slovenian
Work type:	Master's thesis/paper
Typology:	2.09 - Master's Thesis
Organization:	FF - Faculty of Arts
Abstract:	V nalogi bomo obravnavali bolečo umetnost. Za boljše razumevanje tega termina bomo na začetku predstavili zgodovino boleče umetnosti, od prazgodovine do sodobnega časa, in nekaj primerov, ki bodo služili lažjemu razumevanju tovrstne umetnosti. Nadaljnje besedilo se bo osredotočilo na samo področje boleče umetnosti. Vpeljali bomo nekaj teorij, ki skušajo razložiti, zakaj ljudje aktivno iščemo bolečo umetnost oz. umetnost, ki v nas vzbuja negativna čustva. Na začetku bomo predstavili paradoks fikcije Kendalla Waltona, ki govori o pristnosti čustev, ki jih občutimo pri izpostavljanju fikciji, v sklopu tega pa bomo obravnavali tudi Waltonovo "igro pretvarjanja". Nato bomo analizirali paradoks boleče umetnosti, ki zastavlja vprašanje "Zakaj ljudje aktivno iščemo umetnost, ki v nas vzbuja negativna čustva, glede na to, da se človek v vsakdanjem življenju skuša ravno takšnim čustvom izogniti?", ki ga je razvil Aaron Smuts, in predstavili njegov poizkus reševanja tega paradoksa skozi vprašanja, na katera lahko ponudimo odgovore v primeru, da nam uspe razrešiti paradoks. V tem poglavju bomo povedali tudi nekaj o paradoksu negativnih čustev Jesseja Prinza, ki je nadvrsta paradoksa boleče umetnosti. Paradoks boleče umetnosti se torej ukvarja z vprašanjem, zakaj iščemo bolečo umetnost, paradoks negativnih čustev pa se sprašuje, zakaj bi se človek izpostavljal umetnosti, ki v njem vzbuja negativna čustva. Naš glavni fokus bo vizualna boleča umetnost, s poudarkom na fotografiji in slikarstvu, ker pa veliko tovrstnih raziskav in raziskovalcev tega področja svoje razprave postavlja v okvir filma, se bomo v nalogi posvetili tudi filmski umetnosti. Obravnavali bomo tudi estetiko nasilja, o kateri razmišlja Arnold Berleant, ki v razpravo nasilja v estetiki oz. umetnosti vpeljuje etiko in moralna vprašanja o vplivu nasilne umetnosti na družbo in o našem odnosu do takšne umetnosti.
Keywords:	boleča umetnost, paradoks fikcije, paradoks boleče umetnosti, paradoks grozljivk, estetika
Place of publishing:	Maribor
Place of performance:	Maribor
Publisher:	K. Matjašič
Year of publishing:	2026
Number of pages:	1 spletni vir (1 datoteka PDF (XIV, 187 str.))
PID:	20.500.12556/DKUM-98905
UDC:	7.01:111.852(043.2)
COBISS.SI-ID:	288654339
Publication date in DKUM:	24.08.2026
Views:	216
Downloads:	11
Metadata:
Categories:	FF
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Licences

License:	CC BY-NC-ND 4.0, Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

Link:	http://creativecommons.org/licenses/by-nc-nd/4.0/
Description:	The most restrictive Creative Commons license. This only allows people to download and share the work for no commercial gain and for no other purposes.
Licensing start date:	16.07.2026

Secondary language

Language:	English
Title:	It's "Just Art": Painful Art and Its Paradoxes
Abstract:	In this thesis, we will discuss painful art. To better understand this term, we will begin with an overview of its history, from prehistoric times to the present day, accompanied by a few examples to further clarify this type of art. The rest of the thesis will then focus on the field of painful art. We will introduce the relevant theories that attempt to explain why people actively seek out painful art, i.e., art that evokes negative emotions in us. First, we will address Kendall Walton's fiction paradox, which deals with the authenticity of the emotions that we feel when exposed to fiction. In this context, we will also discuss Walton's "pretend game." We will then analyse the paradox of painful art, which raises the question, "Why do people actively seek out art that evokes negative emotions in us, given that people try to avoid exactly such emotions in everyday life?", posed by Aaron Smuts, and present his attempt to resolve this paradox by addressing questions that we should be able to answer if the paradox is successfully resolved. In this chapter, we will also discuss Jesse Prinz's paradox of negative emotions, which is a broader category of the paradox of painful art. The paradox of painful art deals with the question of why we look for painful art, while the paradox of negative emotions asks why people would expose themselves to art that evokes negative emotions in them. Our focus will be on visual painful art, with an emphasis on photography and painting, but since many subject-related studies and researchers in this field place their research within the framework of film, we will also devote our work to film art. We will also discuss the aesthetics of violence, as considered by Arnold Berleant, who introduces ethical and moral questions about the influence of violent art on society and our relationship to such art into the topic of violence in aesthetics and art.
Keywords:	painful art, paradox of fiction, paradox of painful art, paradox of horror, aesthetics

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